Jane Parker-Smith’s earlier recordings in this
series have been generally well-received: Volume 1 on AV0034
– see review
and review;
Volume 2 on AV2144 – see review.
On this new recording, as on the earlier volumes, she performs
an interesting mix of the fairly familiar and the unfamiliar,
from the English, French, German and other European traditions,
this time on the organ of St Gudula in Rhede, a fine modern
instrument, with full specification and illustrations included
in the excellent booklet.

I hadn’t encountered Wiedermann (tr.1), Landmann
(tr.2) or Gárdonyi (tr.6) before, but I’m pleased to have heard
their music on this CD. The Landmann Variations on a Theme
of Handel (tr.2), a demanding piece which brings out the
glories of the organ to fine effect, deserve to be part of the
regular repertoire. At 15:36, this is the longest item here,
but it never outstays its welcome. The Bairstow (tr.3) and
Parry (tr.4), on the other hand, are staple fare, at any rate
for Anglophone organists; though we tend to associate such music
with the Willis style of organ, they, too, suit the versatile
Rhede organ.

Zsolt Gárdonyi’s Grand Chśur (tr.6) is
a particularly interesting work; it might well have come from
the pen of Widor or Vierne, by which I don’t mean to imply that
it sounds derivative – in fact, it’s an impressive piece which
also deserves to be part of the repertoire, though it’s surprising
to hear a contemporary composer writing in a comparatively old-fashioned
idiom.

I’m never sure why organists feel the need to
perform transcriptions of orchestral music when there is such
a wide and varied repertoire for their instrument, so I could
have done without the Liszt Orpheus (tr.5) in favour
of another piece from the English or French tradition. Oddly
enough, in this transcription by Jean Guillou the opening of
the music sounds like an original organ piece by Guillou himself
or early Messiaen, so the track proves to be not as unwelcome
as I had imagined, especially as Parker-Smith gets some lovely
growly sounds out of the organ. By the end of the work I was
even beginning to prefer this transcription to the original.

The Cochereau transcription (tr.8), on the other
hand, is very well worth having: this is not a transcription
of an orchestral piece but a very effective realisation by Jeremy
Filsell from Cochereau’s own improvised 1974 recording of his
Scherzo symphonique. Not for nothing was Cochereau dubbed
the organist’s organist and this piece rounds off the recital
very effectively.

Parker-Smith’s performances throughout are thoroughly
idiomatic and the recording captures the full range of the organ
very well. As early as her first recording, aged 23 (for Music
for Pleasure on the Westminster Cathedral Organ, an LP which
sold for 71p!) her reputation has been based on her love of
big romantic sounds and her ability to manage them, and the
new CD is no exception. She’s recorded for several labels since
then, notably recently for Avie; I must catch up with the earlier
Avie volumes which I missed. Her reputation alone will probably
sell this new recording; those who buy it on the strength of
that reputation will not be disappointed.

I’ve been very impressed with a number of recent
Avie issues, notably Trevor Pinnock’s Brandenburgs (AV2119
– see review
and review,
and my survey of Bach
Downloads) and Imogen Cooper’s Mozart (Piano Concertos 24
and 25, AV2175 – see review
and my March, 2009, Download
Roundup); this new organ recital joins their ranks.

This is an interesting programme, excellently
performed and recorded and well presented, as were the earlier
volumes. At 77:04, the CD is well filled, too.

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